Top 1200 Audience Of One Quotes & Sayings

Sometimes critics disagree with the audience, and that's fine. I make movies for the audience. I guess I hope that the critics like it, but on the other hand, I just really want the audience to like it.

The theater is a communal experience, and whatever the emotional connection between an audience member and the actors onstage, it ripples through the whole audience. Part of the fun of the play is being a part of that audience.

I tend not to think about audience when I'm writing. Many people who read 'The Giver' now have their own kids who are reading it. Even from the beginning, the book attracted an audience beyond a child audience.

I feel that tennis is an art form that is capable of moving the players and the audience - at least a knowledgeable audience-in almost sensual ways. When I'm performing at my absolute best, I think that some of the euphoria I feel must be transmitted to the audience.

On stage, I'm always nervous, but there is so much adrenalin, too. It's strange because I have to turn my back on the audience, and my audience is the orchestra. I communicate my energy to them, and they communicate it to the audience behind me!

It is not the job of artists to give the audience what the audience want. If the audience knew what they needed, then they wouldn’t be the audience. They would be the artist. It is the job of artists to give the audience what they need

The audience works as such a mob. They either all laugh or all don't laugh, and, you know, changes from audience to audience.

I tend not to think about audience when I'm writing. Many people who read "The Giver" now have their own kids who are reading it. Even from the beginning, the book attracted an audience beyond a child audience.

There's actually a disdain for the conversation about audience in the art world. Artist to artist, if you say, "What do you think about audience?" they would probably say, "I don't think about audience, I only think about my work," yet the audience is such an important part.

I've always thought of the audience. I just want to entertain the audience. That's what it's about: what's good for the movie, what's best for the movie, what's best for the audience.

I love being out there. as an audience member. It gives the audience a little bit of something different. Like, why are these wrestlers sitting in the audience? And why are they heckling at this guy and that guy?

I remember quite well that 10,000 audience sang with us three on the spot, and ever since then, I always thought the Chinese audience are the greatest audience.

Once I'm performing the show, I think that hour show has a certain intimacy with our audience. And that intimacy is through the lens and the live audience is a witness to that, whereas the audience at home is actually the object of my efforts.

I don't like to be my own audience, I find that being my own audience, being in the audience, makes me self-conscious, basically. So I tune in sometimes, with the sound off, to check it out and I back up to it. In the future I will look at it when some time has passed.

The weakness of cable news is that it chases its audience around. Your audience wants fast-paced, popular news. It needs real news. Cable news changes its stripes based on audience reaction. Viewers are reacting well to breaking news? You probably do more breaking news than you need to. The struggle is building something so that people will come to you, as opposed to constantly changing what you are because you're unsure of where the audience is.

You may have an older audience in front of you holding the Bible and a younger audience holding an iPhone. You don't want to lose either audience.

The way you survive in the performing arts is by having a sense of your audience, and doing things which entertain and satisfy the audience, but in a more important way, cause the audience to question many things.

As an actor, you should always keep your trump card hidden from your audience. I want the audience to keep expecting more and more from me. I want to do 'different' work - good and memorable roles - so that audience appreciate me more. That's why I love to surprise my audience with something they never expect me to do.

If your audience is young, it'd be youth culture, if your audience is older, it'd be older people, if it were senior citizens, it'd be senior citizen issues. So you try and hit the target audience.

My audience is a diehard audience. They are dedicated. My audience always follows me and sticks with me. They're the reason I'm still here - in the films and in stand-ups.

I'm still learning about music. The best way to learn is to listen to the audience. When you listen to the audience, they will tell you what they like. I wish these big corporations, instead of telling the audience what they should have, would listen.

I think when you're younger, as an actor you have much more of a notion that you are doing something to the audience. But with experience, I think you begin to worry less about what the audience's experience is and concentrate on working with the other actors, and that tends to let the audience do more work.

I don't photograph for other people. I love an audience, mind you. Once I've got them there, then I love an audience. Not a big audience, though. I'd rather please ten people I respect than ten million I don't. But I don't play to an audience, I do it for myself.

When you perform with a live audience, the audience comes back to you, so that you and the audience are giving to each other, in a sense. It's an extraordinary thing. It's wild turf up there.

Every audience is different, even within the same venue. You have to just make every audience your audience; you can't pre-judge an audience based on the size of the room or the type of room. You've just got to be in the moment and go with it.

A good stand-up, you lead the audience. You don't kowtow to the audience. Sometimes the audience is wrong. I always think the audience is wrong.

You don't fully understand the meaning of a work until the audience responds to it. Because the audience completes the circle, and adds a whole other shade of meaning. Whenever you view something, and this is why great works of art survive decades and centuries, is because there's a door within the work that allows the audience to walk through and complete the meaning of the work. An audience isn't passive, nor are they unintelligent.

When I'm shooting, really the audience I'm thinking the hardest about is that first test screening audience who I want to like the film and that first opening weekend audience.

I think every theater in America wants a younger audience... and you can't just hope to have a younger audience, you have to program things that audience is going to connect with.

If you address yourself to an audience, you accept at the outset the basic premises that unite the audience. You put on the audience, repeating cliches familiar to it. But artists don't address themselves to audiences; they create audiences. The artist talks to himself out loud. If what he has to say is significant, others hear & are affected.

I prefer that for my own satisfaction over radio, there's no audience. TV, there's no audience. I need the response of the audience, even if it's a silent response.

The movies I make - the goal isn't a mass audience. They're not expensive films. So the attempt is to reach a much more limited audience - one would say an audience that enjoys films that challenge them emotionally and intellectually.

The most important person is the audience and the composer. The rest of us - and even the composer is a servant to the audience. And of course, the audience is a servant to the higher art.

The audience today has heard every joke. They know every plot. They know where you're going before you even start. That's a tough audience to surprise, and a tough audience to write for. It's much more competitive now, because the audience is so much more - I want to say 'sophisticated.'

If I have a huge audience, I'd like a bigger audience; maybe slightly a slightly more illustrious audience.

Television masturbates its audience even though the audience is not really watching. It masturbates orifices the audience doesn't have. It sticks holes in the viewer and masturbates in those holes. Then it finally gets into the brain and masturbates there, too.

I think about the audience in the sense that I serve as my own audience. I have to please myself the way, if I saw the movie in a theater, I would be pleased. Do I think about catering to an audience? No.

The secret is to let the audience feel through the actress, rather than having the actress feel for the audience. When you can do that, you involved the audience almost without their knowledge or awareness.

The audience is an absolutely critical part of 'Question Time' and selecting that audience is a big and very important job every week. What we need to do every week without fail is make the audience politically representative of the picture across the nation.

A lot of people are very interested that a Korean director has made a western. But when I look at the reactions of the audience, I realise the points at which people laugh are the same for a Korean audience and an international audience.

There is always an audience for different individuals, but critics sometimes stop the audience finding the show and the show finding the audience.

Speakers find joy in public speaking when they realize that a speech is all about the audience, not the speaker. Most speakers are so caught up in their own concerns and so driven to cover certain points or get a certain message across that they can't be bothered to think in more than a perfunctory way about the audience. And the irony is, of course, that there is no hope of getting your message across if that's all the energy you put into the audience. So let go, and give the moment to the audience.

Undeniably, the audience for improvisation, good or bad, active or passive, sympathetic or hostile, has a power that no other audience has. It can affect the creation of that which is being witnessed. And perhaps because of that possibility the audience for improvisation has a degree of intimacy with the music that is not achieved in any other situation.

Every audience is different, even within the same venue. You have to just make every audience your audience; you can't pre-judge an audience based on the size of the room or the type of room.

An audience is pleasant if you have it, it is flattering and flattering is agreeable always, but if you have an audience the being an audience is their business, they are the audience you are the writer, let each attend to their own business.

As far as I'm concerned, an audience is an audience. Whether it's an audience in Hull or the National Theatre, that's who you play to. It's not money - it's good to get some, but that's not why I do it. You do it because you have to, to tell a story.

The audience today has heard every joke. They know every plot. They know where you're going before you even start. That's a tough audience to surprise, and a tough audience to write for. It's much more competitive now, because the audience is so much more - I want to say sophisticated.

Sometimes improv doesn't work on TV because the audience had heard the thing that was shouted and they're very much alive, the audience in the room - they're alive in that moment. Whereas the audience sat at home on the sofa, it feels like it's part of a party that they haven't been invited to.

There's a kind of dynamic quality about theater and that dynamic quality expresses itself in relation to, first of all, the environment in which it's being staged; then the audience, the nature of the audience, the quality of the audience.

I don't write with any audience in mind. I just write. I take a chance on the audience. That's what I did originally, and I think it's worked--in the sense that I find there is an audience.

In America, instead of making the audience come to the film, the idea seems to be for you to go to the audience. They come up with the demographics for the film and then the film is made and sold strictly to that audience.

The audience is the most revered member of the theater. Without an audience, there is no theater. Everything done is ultimately for the enjoyment of the audience. They are our guests, fellow players, and the last spoke in the wheel which can then begin to roll. They make the performance meaningful.

I believe that DVD is that which gives some hope to retaining some content in movies that will appeal to an older audience or the more sophisticated audience or the audience that doesn't need or desire to see a movie on a Friday night.

When I started off in journalism, you knew there was an audience out there and that you wanted people to read what you produced. But it also felt like you had a limited ability to shape the audience, or to acquire an audience, for what you were doing. So you didn't really think too much about that.

Radio helps DJs break into a whole different audience. Radio has so much power. And that's my mission: to not only break into the EDM audience, but to break also into the mainstream audience.

The action genre is kind of designed for a young male audience. But we found on 'The Matrix' that we hit the Valhalla of movie making, which is the four quadrant audience - the young male audience, the older male audience, the young female audience and the older female audience.

I love storytelling and I love just relating directly to an audience. That's why we do theatre, it's because we love contact with the audience. We love the fact that the audience will change us. The way the audience responds makes us change our performance.

Radio helps you break into a whole different audience. Radio has so much power. And that's my mission: to not only break into the EDM audience, but to break also into the mainstream audience.

Emotionally, light very much influences, I feel, the audience. It's not something that most audience members are conscious of, which is a good thing, because it means as filmmakers, we have the opportunity to gently control an audience into feeling a certain way.

I see the audience as the final collaborator. I think it's kind of bullshit when people say, "I'm not interested in the audience reaction." I'm like, "Then why do you do theater? You can write a book, then you don't have to see how the audience reacts." It's a living, breathing thing.